Wednesday, January 9, 2013

If
you have not been living in a cave for the past 30 years, you will know
who Jason Newsted is and his importance to Heavy Metal Music. Jason's
beginnings were with a little thrash band called Flotsam & Jetsam.
He has also played on multiple albums by Voivod as well as countless
side projects ranging from sloppy (IR8) To just downright terrible
(Echobrain).

Newsted's most important musical
contributions came when he became the fan who joined his favorite band
as their bass player. Jason joined Metallica shortly after the death of
bassist Cliff Burton, staying on with the band through several albums
for a career spanning 14 years with them. In 2002, Jason announced his
departure from Metallica and for a while faded into obscurity. He
worked on his various side projects, Echobrain being his most well
known. He had bad blood with his former band mates and Metallica's fans
found themselves in yet another split over who was a better bass
player.

2013 finds Jason with a new band bearing his
name and a new 4 song EP out today aptly titled Metal. There are many
things that this collection will be, unfortunately, Vinyl is not one of
them. This project was released directly to iTunes for 3.99. It is a
worthwhile purchase.

The name of EP sums it up
perfectly. It is metal, pure metal and nothing but metal. There is no
Voivod, Flotsam & Jetsam or Metallica here. What you have is Jason
on bass but fronting his own band with vocals. Jason's voice is good,
his lyrics are a little difficult to digest on this album. They're not
complex, they're just not exceptional. The songs on the EP average
about 5-6 minutes each

4 songs is all we get to base our judgment of this band on. Ultimately this gets the nod from me.

The
album opener Soldierhead starts out with a galloping speed riff
followed immediately by rollling toms. The drumming on this track is
primarily blast beats though played a little slower than you would
think. A better drummer would be an asset to this band, but the timing
is solid. Lyrically it's about a soldier in a war torn place looking
back on his life trying to determine how he got to where he is.

Track 3, King of the
Underdogs starts off with a bass guitar intro that is mimicked
immediately by a lead guitar. After the first 3 or 4 sung lines, the
main riff takes off and the track shows itself for what it is. It is
arguably the best song of the 4.

My least favorite is
the 4th and final track, Skyscraper. The song has a bouncing bass
guitar line that seems just a little too commercial and overdone, still,
in the overall flow of the songs, it fits well.

So
there it is, I've sat with this project all day and listened to it
several times before judging it all. It's a solid project and I would
definately want to hear more by them in the future. It's good to hear
Jason singing and playing. It left a rift with some of Metallica's
fans, however, I hope they find their way to 'Metal' and let this band
be what it is and not overshadowed by the biggest metal band of all
time, that he just happened to be part of for a time.

Rush's 6th studio
album, released in 1978 was a concept album like their critically
acclaimed masterpiece 2112 but not quite as successful.
Following
themes going back to Rush's second album, Fly by Night, on Hemispheres
lyricist Neil Peart continues to heavily utilize fantasy and science
fiction motifs. Similar to their 1976 release, 2112, Hemispheres
contains a single, epic song broken into chapters as the first side of
the album ("Cygnus X-1, Book II: Hemispheres") while the second half
contains two more conventionally-executed tracks, "Circumstances" and
"The Trees."
The album's final track, the ambitious
nine-and-a-half-minute "La Villa Strangiato," was the band's first
instrumental release. According to Peart the band spent more time
recording "La Villa Strangiato" than they did recording the entire Fly
by Night album.
All that time and effort were worth it after just listening to this album once.
The
album contains examples of Rush's adherence to progressive rock
standards including the use of epic, multi-movement song structures,
complex rhythms and time signatures, and flexible guitar solos, like
those found in "La Villa Strangiato." In the 2010 documentary film Rush:
Beyond the Lighted Stage, the band members comment that the stress of
recording Hemispheres was a major factor in their decision to start
moving away from suites and long-form pieces in their songwriting. That
change in philosophy would manifest itself in the band's next album, the
considerably more accessible Permanent Waves.
For a short period
of time, the album was available in Canada also as a red vinyl LP in a
gatefold sleeve with poster (catalogue number SANR-1-1015), and as a
limited edition picture disc (catalog number SRP-1300), both of which
have become much sought after collector's items. I own the picture LP
version!
Side A or the Cygnus X-1, Book II: Hemispheres side is 18:08 in length & broken up into 6 movements;
I. Prelude
II. Apollo (Bringer of Wisdom)
III. Dionysus (Bringer of Love)
IV. Armageddon (The Battle of Heart and Mind)
V. Cygnus (Bringer of Balance)
VI. The Sphere (A Kind of Dream)
This
epic song deals with the story from Cygnus X-1 on the album A Farewell
to Kings. It uses the Greek Mythology of Apollo, the god of Reason, and
Dionysus, the god of Love. The followers of Apollo believe straight
logic can lead them while the followers of Dionysus believe that love
will lead them. Civil War ensues until the adventurer from Cygnus X-1
comes across this world. Since traveling through Cygnus X-1, a black
hole, his body has been destroyed but he can still see and think. He
becomes upset with the war and cries out to the people, Apollo, and
Dionysus. The people hear his cry, stop fighting, unite, and proclaim
the hero Cygnus, the god of Balance. Pretty heavy stuff if your so
inclined to think while listening to music. Besides I have always
considered Rush to be the thinking mans band.
The other songs on
the album include CIRCUMSTANCES (Geddy sings some in French on the heavy
track). THE TREES (whether Neil Peart knew it or not, I have always
considered this a song about the haves & the have nots) & LA
VILLA STRANGIATO (an exercise in self-indulgence). This track is over 9
minutes in length. It is broken up into differing movements like that of
the first track.
I. Buenos Nochas, Mein Froinds!
II. To Sleep, Perchance to Dream...
III. Strangiato Theme
IV. A Lerxst in Wonderland
V. Monsters!
VI. The Ghost of the Aragon
VII. Danforth and Pape
VIII. The Waltz of the Shreves
IX. Never Turn Your Back on a Monster!
X. Monsters! (Reprise)
XI. Strangiato Theme (Reprise)
XII. A Farewell to Things
This
album is a monster start to finish. This is considered by many fans
& Rush themselves to be the last of their EPIC songs in terms of
length. They so far have remained true to that pledge. HEMISPHERES
represents the end of the beginning 'golden' age of Rush & the
turning of the page to something different. I love this album. Spin It.

Hello Sports fans! Welcome to the big event! The votes are in and
the ballots have been counted. 2012 was a hit and miss year for music
with a lot of albums that just weren’t that great. But in the midst of
all the mediocrity, 11 albums made the top of the heap.
It is
now time for your humble writers here at ana-logs to post the albums
that we feel in our opinions were representative of best of the year.

Below
you will find my top 10 along with Scrap224’s top 5. Each album in the
top 5 has been reviewed by each of us. believe me when I say that
while we can agree on music, our tastes are very different so you will
be able to see differing viewpoints on almost everything. Take our
words and get some of these albums for yourself and make your own
decision. While we tend to endorse vinyl, these are also available on
cd and in digital markets. Pick them up in any format you listen to
your music and just enjoy

Occasionally
there is an artist who has either the luck or the talent to make
anything they touch a project that will garner both public and critical
appeal. Jack White is one of these artists.

Hailing
from Detroit Michigan, White has released albums under The White
Stripes, The Raconteurs and The Dead Weather. As a solo musician, he
has collaborated with Beck, The Rolling Stones, Jeff Beck, Alicia Keys,
Bob Dylan, Electric Six, Wanda Jackson and Loretta Lynn. It is apparent
that Jack White has a passion for music that is not seated any Genre.
His Nashville record store and label, Third Man Records, boasts a
recording studio, performance venue, vinyl pressing plant and store and
is constantly turning out collectables under their slogan “your
turntable is not dead!” White’s releases are released specifically to
vinyl with cd’s and digital copies being an afterthought, which seems to
be the exact opposite that other labels think.

On to
the meat of this album, which hands down is the album of the year. The
title of Jack’s first completely solo project is called Blunderbuss, It
is experimental and diverse into almost all genre of music.
Occasionally, it treads on familiar territory such as the White Stripes
feeling single Sixteen Saltines. With it’s catchy yet simple riffing,
it displays all the characteristics that The White Stripes held dear.
If this album simply repeated the format, it would be a good record, but
would only be a one trick pony and not the album of the year. The
album opens with a simple electric piano opening into the track Missing
Pieces. Following soon enough are drums, guitar and bass. This song
sounds nothing like Jack’s previous body of work, yet it doesn’t feel
alien to his voice as he manages the vocals with dexterity. Freedom of
21, the album’s third track opens with whining steel guitars and strings
and clearly feels that it could belong on an old country troubadour
record, however it is completely modern and feels equally like a rock
song.

It would be easy to go through the tracks one
at a time and provide a little background of each, but this would rob
you, the listener, of experiencing this record as it should be, and that
is with no preconceived notions.

There are some
additional gems that should be mentioned such as the side 2 opener, I’m
Shakin', which is a feel good 50’s era blues rocker with female backing
singers. It is indeed too fun to miss, as well as Hip (Eponymous) Poor
Boy which would take an amazing amount of willpower to not dance to in
your chair or at least smile and hum along.

The vinyl
itself is made by a label that loves vinyl and puts great care into
releasing a package that carries a greater value than the cd. The vinyl
is a single LP 180 gram pressing in a gatefold cover. The outside cover
features a picture of White on the front with a large black bird on his
shoulder. The back is a picture of the Nashville Electric Service.
Inside the Gatefold, there is artwork as well as an insert featuring the
artwork from the cd booklet as well as a download card to get a free
copy of the entire album in 320 KBPS mp3’s for your portable player.

To
me, there’s no question that this record is album of the year. It’s a
very diverse album with absolutely no filler tracks. Each time you
listen, you will hear something new. While some songs will stand out as
favorites, there is no doubt this album can be played from beginning to
end each and every time.

There
are few bands who still play honest to God thrash metal anymore,
choosing instead to include some thrash elements into Metal Core. These
bands, however, lack the ferocity and overall sonic aggression that
thrash bands have always had. The best thrash bands out there have
been honing their craft for decades. The Big 4 (Metallica, Slayer,
Megadeth and Anthrax) all still carry the thrash flag as do Brazilian
Death Metal pioneers Sepultura, however, what about the L.A. based band
that should have insured there was a Big 5 of heavy metal instead of 4,
but just couldn’t seem to get out of the huge shadows cast by their
peers? The band in question is an excellent outfit called Testament.
2012 saw the release of their 10th studio album called Dark Roots of the
Earth. Released on Nuclear Blast records, this album is an all out
sonic assault spanning 12 tracks on the vinyl, 13 tracks on the deluxe
cd and 14 tracks on the iTunes version. This album sees Testament
performing at a level that has not been seen since 1991’s masterpiece
Souls of Black. The musicianship of this album is solid and tight,
going anywhere from delicate picking of the title track to the bone
crushing gallop of Rise up and True American Hate. Alex Skolnik
provides most of the writing for guitar on this album and rounded out by
rhythm guitarist Alex Peterson. Skolnik was a student and Protégé of
guitar virtuoso Joe Satriani. The drumming duties on this record left
me nervous before I heard the finished product. Rather than waiting for
longtime drummer Paul Bostaph, who has been recovering from an injury
they recruited Gene Hoglan. Hoglan is best known for his work with
acts Dark Angel, Death, Strapping Young Lad, Devin Townsend, Fear
Factory, Opeth, Unearth and most recently Dethklok. When it came time
for the recording of the album, Bostaph stated he was not ready to
record or tour. Rather than wait for him, the nod was given to include
Hoglan in the lineup. His drumming on the album far exceeded my
expectations giving them speed and urgency that haven’t been part of the
band in a long time. The drumming punctuation on lines such as “God of
war, fire born, crown of thorns, no remorse” add ferocity to the lyrics
that has long been missing in Testament’s recorded work. What sets
Testament apart from their peers is their unapologetic lyrical
delivery. Chuck Billy has been the voice of Testament for it’s entire
recording career. His gruff vocals and earth rumbling growls feel like
home on this album. The lyrics of the album range from political and
social rage post 9/11 in the track True American Hate to the plight of
the American Indians in the US in the stellar Native Blood to fantasy
lyrics that would find themselves at home in any of Peter Jackson’s
intricate Lord of the Rings movies by way of the title track Dark Roots
of the Earth.

For those who are unfamiliar with
Testament’s work, they provide a level of guitar technicality on par
with Metallica and Megadeth, but can dissolve into speed of light thrash
familiar to fans of Slayer and Sepultura. They are a band who should
have achieved greater commercial success in their nearly three decades
playing music, but just were never able to capture the appeal that many
of their peers have enjoyed. This in no way means that they do not
enjoy successful album sales and sold out shows. They are a staple in
the European touring circuit and enjoy a loyal and rabid fan base in
their United States.

This album boasts 12 tracks that
in no way require any skipping to get to the next track. This was an
album meant for the vinyl format, with a solid listening experience from
beginning to end.

The vinyl itself is a standard 120
gram LP in a double gatefold cover. The vinyl itself is a greenish
gold color with black streaks coming from the center. The coloration
itself is almost identical to Anthrax’s 2011 release Worship Music. The
album’s lyrics are printed on the LP sleeves in the gatefold as well
full color artwork and band photos in the inside of the gatefold. For
those who got rid of their turntables years ago or aren’t old enough to
see them other than a cool throwback novelty, the deluxe cd includes an
additional track and a DVD featuring concert footage of the band
throughout the years.

The iPod generation will also enjoy an iTunes exclusive track featuring Chris Adler from Lamb of God on drums.

Overall,
this record ranks at #2 of the best releases of 2012 to me. This is a
solid release that has gotten better with every single spin. This is a
rarity in an album these days since the a la carte song at a time iTunes
generation has made this unnecessary. Pick this one up, you won’t
regret it.

Soundgarden - King Animal
“I’ve
been away for too long!” After an intro of familiarly crunchy guitars
and that all too familiar voice, Chris Cornell of Soundgarden vocalizes
the sentiment that his fans have been thinking for the past 16 years.
You see it had been 16 years since fans had a Soundgarden Studio album
in the form of Down on the Upside.
Soundgarden were one of the
legendary 4 grunge bands who represented the Seattle Sound to the world
along with fellow bands Pearl Jam, Alice in Chains and Nirvana. In
every group, there’s distinct personalities and this crop of bands were
no different. They were all young and idealistic, but from very
different musical influences. Nirvana brought a punk aspect to Grunge,
Alice In Chains brought more of a heavy metal vibe during a time when
metal was losing ground, Pearl Jam brought commercial appeal and a
willingness to reinvent themselves at every turn and Soundgarden were
arguably, the artsy, experimental of the big 4 of grunge. They brought
sludgy guitars courtesy of Kim Thayil, over the top drums courtesy of
Matt Cameron and of course Chris Cornell’s vocals going from melodic to
high pitched scream with ease.

2012 saw the release
of King Animal, riding the heels of 2010’s greatest hits package,
Telephantasm featuring an unheard song from the Badmotorfinger sessions
called Black Rain, and a live set in 2011 called Live on I-5. While
these were albums welcome to the catalogue, fans still wanted new
music. Two years prior, Alice in Chains did the impossible and
reformed, toured and released an album even in the void left by the late
Layne Staley.
In the fall, fans received exactly what they
were hoping for. King Animal is 13 tracks of absolute Soundgarden. It
feels new and contemporary but it has that unmistakable vibe that only a
Soundgarden album can offer. To me, this album is not as good as
Badmotorfinger, but that album will forever be my favorite album of not
only the band but of the genre. I can safely say, however that this
reformed and refocused band has released the second best album of their
career. Despite the age, the music sounds young and fresh. Only in the
lyrics do we glimpse into the years that have slipped by and the age
that has weighed down on the shoulders of the band members.

Standout
tracks on this stellar set are the all out rocker “Been Away Too Long”,
The slow and sludgy “Blood On the Valley Floor” and the nostalgic
“Black Saturday” which has a feel similar to Cornell’s solo track
Seasons from the movie Singles, which is where I really took notice of
this band.

There is no Outshined, Jesus Christ Pose
or Birth Ritual here, but there is solid hard rocking from a band that
helped forever cement Seattle Washington as THE place to pay attention
to for music in the 1990’s.

This is a must have
album. If you don’t know, find out. If you have it already, spread the
word. Show them that their return is a welcome one and that just one
new album won’t be enough because they have the strength to keep it
going well into 3 decades.

The
sounds of birds and wolves along with rattling chains begin to swell in
the speakers followed by a riff on a standup bass, followed guitar and
drums, Fender Rhodes organ and a piano. The piano sounds timeless and
at the same time, so familiar and distinct, it could only be one man.
This year marked the release of another album by THE voice of N’Awlins
boogie woogie piano. Of course I’m speaking of Dr. John.

Dr.
John’s newest album, Locked Down, features The Black Keys guitarist and
singer Dan Auerbach at the control panel producing the album as well as
taking up the guitar duties. This is classic Dr. John, the vocals
sound as though they belong to a much younger man than the 70+ Night
Tripper delivering them. The record is bluesy and fun, while completely
dripping with New Orleans and all that the culture of one of America’s
most history rich cities can muster.

One thing is
apparent from the first listen, is that while the musicians selected to
play on this record are top notch, they all had to bring their A+ game
in order to keep up. There are a few highlights to the album, though,
while this is not a concept album, it plays like one, keeping the vibe
of the album through the entire album. The opening title track features
Auerbach’s most recognizable guitar work and gets the entire album on
an upbeat tempo. Walking bass lines present in the second and third
track bring you to the next gem of the album, the percussion driven Ice
Age. Some of Dr. John’s most pronounced electric piano work is present
here along with a guitar riff that is reminiscent of 80’s pop group Edie
Brickell and the New Bohemians. The third gem on this album, and the
one that pushed it to the top of the pile for me is the organ driven
Kingdom of Izznes. There is nothing I can say about this track that
will it do justice, so dear reader, just pick it up and listen to it.

Again,
this review is written about the vinyl version of this album. This LP
was pressed on Nonsuch records, which is home to artists who think about
their vinyl release first. This one is pressed on 180 gram black vinyl
as a single LP. It includes an insert featuring Dr. John and Dan
Auerbach in the studio as well as the lyrics for the album. It does not
include an mp3 copy of the album, however, the entire album is included
as a cd as well so that it can be played in car stereos or ripped to
mp3’s easily for use on portable system.

There is so
much more that could be said about this album, but it would just bias
your opinion and there is so much music out there that needs to be both
discovered and enjoyed without causing too much hype. This is one of
those albums. It’s great, but this is one you must sit with for a while
and ease into.

Rush - Clockwork Angels
Canada...Our
neighbor to the north that seems just a little too polite and somehow
ends up being the butt end of jokes made in pop culture, from South
Park’s rousing ‘Blame Canada’ from the Bigger, Longer, Uncut movie, to
music that just seems to try but ultimately getting it wrong somehow.
This brings up images of 80’s pop singers such as Anne Murray and Bryan
Adams. I pause while you add your own jokes or defenses here.
Regardless of how you view Canada, there is no denying that arguably
one of the most musically affluent progressive rock bands of the 20th
and 21st centuries hail from the Great White North as well. Yes, boys
and Girls, I’m speaking of Rush.
I have never been anything more
than a casual observer of Rush. Usually I could take them or leave
them, and in most cases I’d leave them. Of course, there are legendary
hits that no party would be complete without, for instance Tom Sawyer,
Limelight, Fly By Night or Stick It Out.

My dealings
with Rush in my younger years were simply the songs above until my
college roommate brought a copy of Rush’s Chronicles album back to
school after his birthday. From there, began an obsession lasting
months on end of nothing but Rush. His infatuation with Rush was the
same as my own with Metallica so despite under breath grumblings from
time to time, I ignored them as I found Geddy Lee’s voice to be whiney
and harsh. Something happened during those months though. I started to
pay attention and notice the absolute musicianship that Lee on bass,
Alex Lifeson on Guitar and Neal Peart on drums possessed. It was jaw
droppingly beautiful at times while at others just good time rock and
roll. While I don’t celebrate the band’s entire catalogue, I took some
new favorites from those marathon listening sessions.

Still,
time has gone by and Rush has never made the top of any of my lists.
2008’s release of Snakes and Arrows found a younger sounding band that,
dare I say, was HEAVY!. When I learned that Rush was recording a new
album, I thought of two things. 1 was that friends who loved this band
were sure to be excited, and 2. I hope the actual recording is better
than the previous effort. Rush, while being a musically proficient
band, have suffered over the years with flawed recordings with Snakes
and Arrows being the example I give as a casualty of the “loudness wars”
plaguing music today, causing distortion and clipping.

I
decided to not complain about it and let artists do what artists do an I
decided to put on my hat of professional critic AFTER the album was
released. A few weeks before the album was released, I heard the
leadoff track of ‘Headlong Flight’. It was clear and crisp as much of
Rush’s music was, but it was heavy and angry and for Rush this is not
the norm. I liked it immediately and began to look forward to the
release of the album. There were rumors that this was going to be a
concept album in the spirit of 2112. When I saw the artwork and saw a
red clock made of clouds and symbols with hands pointing at 9:12 (21:12
), I took notice.
Take notice please: I LIKE THIS ALBUM FROM
BEGINNING TO END!!! This is not a sentiment I have had for a Rush album
in the past. The songs are epic in length, specifically Headlong
Flight and the title track, Clockwork Angels. They sound like a
younger, hungrier band, who are making music for the love of music
rather than just making music for the paycheck. This is important no
matter what type of music you are making.
The album is the first
concept album since 1976’s 2112. The lyrics, created by Neal Peart,
chronicle a young man’s quest across a lavish and colorful world of
steampunk and alchemy as he attempts to follow his dreams. Geddy’s
vocals have matured over the years and have made him one of the more
distinctive voices in rock and roll. The overall music fits his voice
perfectly. The imagery is descriptive and is some of the best writing
that I have heard from this band or any other prog-rock band in recent
years, with only the possible exception of the stellar Mars Volta, who
come in at number 10 on my list this year.

This album
is a gem in any collection of a true appreciator who likes music for
the sake of it being creative and musical. There are elements to enjoy
in every track, and not a single track would require the listener to
skip ahead. Check this one out. You won’t be sorry

Van Halen - A Different Kind Of Truth
What
the hell am I listing to? I have to admit this was my first thought
when I heard Van Halen’s lead off single from 2012’s A Different Kind of
Truth. What exactly was this? The voice was there. It was David Lee
Roth, the reason I loved Van Halen, besides Eddie’s shredding, but what
was wrong with it? It didn’t sound right. It was just...off. It was
missing something and in my frustration of waiting for this album, I
began to prepare being disappointed by yet another formerly great band
that had tanked on their previous releases. This has happened several
times with the newest releases by Stone Temple Pilots, Lenny Kravitz and
the Red Hot Chili Peppers...am I rambling? Yes, so sorry, let’s pull
it back and concentrate on the album at hand.

For over
a year, I had heard reports online that Van Halen were in the studio
with Diamond Dave at the helm once again. The reports used phrases such
as “younger and hungrier than ever” “A REAL Van Halen album” and “It’s
1979 all over again”. These are bold claims and if they could make any
of them come true, this would be the best album since 1984. I was
never a fan of the Van Hagar years and I honestly stopped listening to
them. I did not like the overused hi-hats on every song and the ready
for radio trendy chorus that Sammy Hagar was prepared to shovel out for
every album, though he could invoke nostalgia like no other (hot summer
nights anyone?)

Finally, the album date was here, and
as I headed to the record store, I felt like I was heading to a
funeral. I thought that maybe Tattoo, the lead single might just be a
fluke. I reasoned with the cd case the entire way home. “I could have
bought any cd in the store and I chose you so please don’t let me
down”. Yeah, I actually had a conversation with a cd on the way home,
don’t judge me. But what you should judge is the music. Once Tattoo
was over, I heard the intro she’s the woman, a hard rocker starting out
with Eddie’s shredding and a bubbling bassline by the youngest Van
Halen, Wolfgang. Being in his father and uncle’s band is his birthright
and he is a natural born rock star. Catchy hook but not overdone.
It’s memorable but doesn’t follow radio trends, instead letting the
radio approach them.

Ok, 1 bad and one really pretty
good. The next song was a number called You and Your Blues. It starts
out with an uptempo strumming with DLR’s lyrics making references to
classic blues tracks such as ‘redhouse’ ‘stormy monday’ ‘midnight train
to georgia’ ‘crossroads’ and ‘19th nervous breakdown”. This was Van
Halen! The remarks that critics made in the music press started to make
sense. So far though there was still 10 tracks to go. Up next was
Chinatown, a speedy track that while it lacked the ferocity of Hot For
Teacher, it matches the tempo easily.

I wont spoil
the album with a track by track other than to point out the two tracks
that cemented this album into a classic Van Halen album for me. “As If”
starts with big 1980’s air injected drums and a slow, sludgy riff that
squeals into note pinches at the end of every bar. The track sounds
heavy and almost evil, well, maybe not evil, but definitely angry. The
song then dissolves into arpeggios that only Eddie can truly do and then
settles into the heavy mid tempo riff again. This is young Van Halen
with something to prove with Alex and Eddie and Dave at the top of their
game. There is absolutely no way that Sammy Hagar could have produced
music this good with the late 80’s, 1990’s Van Halen

The
most standout track, however is a traditional acoustic blues called
Stay Frosty with Dave delivering a spoken word in a swing styls. After
this song goes for two short verses, the band kicks in with electric
blues and drums and bass.

After I listened to the
entire album, I returned to the opening track Tattoo and while it’s
still not one of my favorite songs, I appreciate it in the sequence of
the album.

This is a stellar album, that just couldn’t
make my top 5 list. That’s not on account of the weakness of the
album. Instead it says volumes about the bands who put out original and
worthwhile material this year. I hope for another Van Halen album this
good, but for now, we have a new Van Halen this good. Get it, play it,
love it, obsess over it. ENJOY IT!!!

Three
Guys, two beards, one mustache on a guy whose name is ironically beard.
Southern rock representing the great state of Texas. Sleeping Bag,
Planet Of Women, Tush, Rough Boy, Sharp Dressed Man and of course Legs.
Does this sound familiar to you? Unless you have been living in a cave
or in cabin with no electricity for 30 years, you know ZZ Top. ZZ Top
are responsible for the songs above and many other in a career that is
fast approaching 40 years of hard rocking blues riffs.

Guitarist
Billy Gibbons teamed up with THE Rick Rubin to deliver ZZ Top’s 15th
studio album, Futura in 2012. There is a lot of good on this album,
though, I can’t say that it ranks as high to me as their earlier
albums. The album opens with the hard rocker I gotsa get paid, a good
time song, which gives the feeling that the band is just warming up.
Track after track, you get what you expect with this album, which is the
voice and the riffs that made ZZ Top famous with big crashing drums in
the background keeping the timing on the edge of controlled chaos. The
bass guitar provided by Dusty Hill is huge and driving, adding a
heaviness that Gibbons guitar playing just doesn’t approach. Almost
every album has at least one misstep and in this case, the misstep is an
attempt a a ballad. I’ve never been a fan of ZZ Top’s ballads. Rough
Boy gets skipped whenever it plays on any album or compilation. Its
just difficult listening to a band try to play something they are not
capable of doing well. The ballad on La Futura is called over you.
While musically, it feels like a 1960’s lament on lost love, Gibbon’s
voice is unforgivably bad in the track. He applies the gruffness that
he does on all other songs. In this case it feels forced. This would
be a great track for a guest artist to add vocals too. Let Gibbons play
the music that he is more adept at. He knows how to throw a party. He
doesn’t have a clue how to sing about a broken heart and make the
audience believe that there’s any pain in his voice. This is
forgivable, however because it’s the only low point to the album.

Overall,
the album is good. I wouldn’t go so far as to call it great. The
riffs are solid, the bass is heavy, drums driving and solid, and of
course Gibbon’s voice is timeless, but after 15 albums, there is not
much here lyrically that can’t be found on other albums only done
better.

I would pick this one up and enjoy the ride,
just don’t expect any life changing moments. These guys have their
share of them, changing the face of rock and roll a time or three
themselves, but they have turned out an album that is better than 90% of
the other musical offerings this year.

Ah
Testament. This is one band that has been around awhile. I can honestly
say that I have never been a huge fan of them. I like some metal. Not a
big fat of speed metal but some of the slower stuff is just fine with
me.
DARK ROOTS OF EARTH is Testaments 10th studio album.
This
album is a good Testament album. Fast. Heavy. Melodic. It plays well.
It starts off heavy, takes its listeners on a poignant journey of sound
& sight. A thinking mans metal album?? A journey into war, politics
& American life.
DARK ROOTS OF EARTH can occupy ones mind
& time on different levels, all of which appear to appeal to a
persons inner sense of social activism
The track listing for this album are;
1. ‘Rise Up’
2. ‘Native Blood’
3. ‘Dark Roots of Earth’
4. ‘True American Hate’
5. ‘A Day in the Death’
6. ‘Cold Embrace’
7. ‘Man Kills Mankind’
8. ‘Throne of Thorns’
9. ‘Last Stand for Independence’
10. ‘Dragon Attack’ (Queen cover)
11. ‘Animal Magnetism’ (Scorpions cover)
12. ‘Powerslave’ (Iron Maiden cover)
13. ‘Throne of Thornes’ (extended version)
14. 'A Day in the Death)
It's
all hardcore & it's all good. A great choice to listen to if the
mood hits you right. This is a worthy album of anyone's Top 10 list from
2012.

Dr.
John (Malcolm John Rebennack, Jr.) has been around along time like
since the 1950's. his music is a combination & fusion of blues, pop,
jazz as well as zydeco, boogie woogie and rock and roll. Not an easy
combo to pull off.
His latest effort; LOCKED DOWN is a good effort.
It's fairly easy to listen to. Not to high, not to low. Not to loud, not to soft.
Honestly,
Dr. John's music is not generally my cup of tea. It simply does
nothing for me. However that is not to say that his latest effort
doesn't have something to offer the casual listener. The albums track
list is;
1. Locked Down
2. Revolution
3. Big Shot
4. Ice Age
5. Getaway
6. Kingdom of Izzness
7. You Lie
8. Eleggua
9. My Children, My Angels
10. God’s Sure Good
It's a good album so check it out.

"IN
A WORLD WHERE I FEEL SO SMALL, I CAN'T STOP THINKING BIG!" They are
back & the band is Rush. Debuting in at #2 on Billboard & #1 in
Canada is Rush's 20th Studio album CLOCKWORK ANGELS. The holy trinity
from Canada are back. It's been 5 years since SNAKES & ARROWS was
released & I feel CLOCKWORK ANGELS was well worth the wait.
Let's
go back in time for a bit all the way back to 2010-2011. Rush was on
tour, their Time Machine Tour. This was also the 30th anniversary of one
of their defining albums MOVING PICTURES (which they played in its
entirety live during this tour). Prior & during this tour Rush was
already in the writing/recording mode. On June 1, 2010 Rush released two
new songs; CARAVAN & BU2B (brought up to believe). These two new
songs were heavy & pure Rush. Multiple time changes, solos &
thought provoking lyrics. There was also something else. These two new
songs seemed to be linked lyrically & not just two new isolated
works. This gave to rise to rumors that were later confirmed to be
correct that these two new songs were to be part of a total concept
album. Even the stage set up reflected these new songs' lyrics; a
Steampunk theme. On April 19, 2012 Rush also released the first
'official' single HEADLONG FLIGHT (more on all the songs later) At the
conclusion of their Time Machine Tour the trio took a well deserved
break then went back into the studio with SNAKES & ARROWS producer
Nick Raskulinecz. The result is the singularity of this review.
Just
recently released on June 12, 2012 CLOCKWORK ANGELS is a masterpiece
& Rush absolutely demonstrates how they defy their years &
mileage on it. An album, a concept prog album of the highest order. As
one of my best friends said after he listened to it for the first time
(and he is moderate Rush fan) CLOCKWORK ANGELS is like the best
paintings ever created. Full of color, contrast & composition. As
stated by drummer/lyricist Neil Peart stated: In a young man's quest to
follow his dreams, he is caught between the grandiose forces of order
and chaos. He travels across a lavish and colorful world of steampunk
and alchemy, with lost cities, pirates, anarchists, exotic carnivals,
and a rigid Watchmaker who imposes precision on every aspect of daily
life. In fact CLOCKWORK ANGELS is also being written into a novel by
science fiction novelist Kevin J. Anderson, a long time friend of Neil
Peart, announced that he would be writing a novelization of Clockwork
Angels due out in the fall.
The album's cover art displays the
time 9:12 or 21:12, in reference to the band's album and song titled
2112. The cover art was illustrated by graphics artist and long-time
Rush collaborator Hugh Syme. The CD cover art & the vinyl cover art
does differ with the red background. The CD is the red cloud vortex
& the vinyl version is rippled water drops.
The band; Geddy Lee- vocals, bass, keyboards. Alex Lifeson- guitars. Neil Peart- drums, lyrics.
The
songs; 1. CARAVAN- slightly reworked from the single version. It begins
our tale. In my opinion a perfect Rush song. 2. BU2B- also reworked
from the single version. The song now has a brief haunting acoustic
intro. The second heaviest song on the album. 3. CLOCKWORK ANGELS- the
title track. It has multi movements within it. It reminds me of a mini
2112 or a mini Hemispheres. It's multi-layered & and serves as the
pivot point for the album. It is a song that is fast/slow &
light-heavy. It's also the first of three songs on the album that clocks
in at 7 minutes or longer 4. THE ANACHRIST-it's catchy. Nice groove to
it. Speaks of a dangerous man in a controlled dystopian society. 5.
CARNIES- its heavy. It speaks of an exotic carnival that the main
character visits on his journey. It reminds me of the carnival scene in
the film A.I. 6. HALO EFFECT- its simply beautiful. An absolute instant
Rush classic. It's also short coming in about 3:14 or so. Ahh the
heartbreak of falling in love with the wrong woman. 7. SEVEN CITIES OF
GOLD- our heroes adventure continues in search of a lost legend ala
Indiana Jones perhaps or even Cormac McCarthy's The Road. It's got a
vintage killer Geddy bass groove as an intro. It's a rocker. 8. THE
WRECKERS- its about a shipwreck that turns even worse as false safety
rears its ugly head. This song also possesses one of Peart's most
poignant choruses he's ever written; "All I know is that sometimes you
have to be wary Of a miracle too good to be true All I know is that
sometimes the truth is contrary Everything in life you thought you knew
All I know is that sometimes you have to be wary 'Cause sometimes the
target is you". 9. HEADLONG FLIGHT- the second official single from the
album. It is without a doubt the heaviest song on the album & maybe
the heaviest Rush has ever written. It is the second song on the album
that is over the 7 minute mark. It is my favorite song on this album.
10. BU2B2- a bit of a reprise. A sequel song to the original arcing
track BU2B. It's only about a minute and a half long. It's very
ethereal. Different lyrics. Different arrangement. It's like a brief
intermission before the crescendo. 11. WISH THEM WELL- another classic. A
musical journey. Turn the other cheek & move on. It's both heavy
& mellow. 12. THE GARDEN- it's spiritual. It's beautiful. It's
hopeful yet mellon-collie. Its the third song at the 7 minute mark. The
summation of the protagonists journey. A reflection upon his adventures
& travels. I obviously have a first edition/pressing of CLOCKWORK
ANGELS on vinyl. Double disc LP. 180 gram & black. As a totally Rush
touch, on each side of the two LP's center stickers there are no song
titles written, just the clock logo used for the album. Four different
ones in fact. One set at 1:00. One set at 2:00. One set at 3:00. And one
set at 4:00 (for sides 1-4).
In conclusion, I love this album.
Granted Rush is my favorite band so I am probably going to be a bit
biased in the favorable category towards then. Don't take my word for
it. Read other reviews in print or online. This is a killer album. Maybe
their best ever.
We all know at this point in Rush's career they
have many more years behind them than they do in front of them. All
three members are all pushing 60 years of age as of 2012. If Rush decide
that their Clockwork Angels Tour is their last tour/album, (God for
bid) then CLOCKWORK ANGELS is one hell of a way to go out & say
thank you to all of their fans world-wide for 40 years of glory.
If CLOCKWORK ANGELS is your first introduction to Rush or your a die hard like I am then this is the album for you.
Spin this over & over & LIVE IT ALL AGAIN!!!

This review was previously publised on 6/20/2012. For more photos please see the original postingClick Here:

...and
then 28 years later Diamond David was welcomed back into the fold where
he, Alexander, Edward, & Edward's son Wolfgang lived happily ever.
If
there is a God & yes I do believe there must be, then some prayers
are in fact answered, some fairy tales come true, world peace can be
achieved, & Van Halen can have one David Lee Roth back as their
frontman/singer. Sammy Hagar was a new singer for Van Halen. David Lee
Roth is THE singer for Van Halen.
Back in 2007, the Van Halen
Reunion Tour was alive & well. The original Van Halen line up was
3/4 intact & on tour (substitute Ed's son Wolfgang for long-time
bassist Michael Anthony)
Fast forward to 2011-2012. Rumors began
to swirl cyberspace that Van Halen could possibly be sort of back in the
studio (5150) recording a new album. And then on January 12, 2012,
rumor became reality when the first single off a yet untitled new album
was released. TATTOO hit the world at large & the new/old Van Halen
was off & running. By January 23, 2012, TATTOO was ranked #1 on
Billboard's Hard Rock Singles chart, the #1 most played song at classic
rock radio in its first week and #1 most added song at mainstream and
active rock radio. TATTOO had mixed reviews. A wide range of opinions
from love it to hate it. I didn't like it at first but have come to love
it now. Then new rumors began to rise. TATTOO was actually based on a
never released song called DOWN IN FLAMES. Then more rumors; was this
seemingly mythical new album with Diamond Dave ALL old demos from the
70's that they did prior to 1984? In an interview, new/former lead
singer Sammy Hagar said so, & for the most part he was right.
On
February 7, 2012 all rumors were confirmed. A DIFFERENT KIND OF TRUTH
was released. 13 'new' tracks with David Lee Roth at the helm of the
good yet plenty battered ship Van Halen. Now that Dave, Alex, &
Eddie are all in their late 50's the kicks & jumps aren't as high.
Dave's Jack Daniels stained voice doesn't quite have the same range as
it used to but musically & lyrically the boys are in tip top form.
Dave's singing his ass off. Eddie is not just playing his ass off he's
again re-defining the rock guitar. Alex has been reborn again hard on
the skins (perhaps because he is now an ordained minister) & Ed's
pride & joy Wolfgang is dangerous on the bass & bonus, he can
sing too.
A DIFFERENT KIND OF TRUTH is the best of the re-worked past & the retro future all in the present.
The
13 'new' tracks I spoke of earlier are; 1. Tattoo. 2. She's the Woman.
3. You & Your Blues. 4. Chinatown. 5. Blood & Fire. 6.
Bullethead. 7. As Is. 8. Honeybabysweetiedoll. 9. The Trouble With
Never. 10. Outta Space. 11. Stay Frosty. 12. Big River. 13. Beats
Workin'
All these songs have that retro feel to them & yet
still manage to sound resoundingly new in my opinion. I have listened to
this album in its entirety on numerous occasions & have yet to find
any reason to not love this album.
Since A DIFFERENT KIND OF
TRUTH was released on CD in 2 versions (standard & deluxe) &
online. I purchased the deluxe edition. That version came with two CD's.
The standard album & a bonus disc (The Downtown Sessions)
consisting of the band rehearsing acoustic versions of; Panama, You and
Your Blues (Intro), You and Your Blues, and Beautiful Girls. A
Collector's Edition vinyl album was also released. This double gatefold
LP vinyl includes all 13 songs on two 180g LPs plus custom LP artwork
done by David Lee Roth.
I have to admit the vinyl format is
absolutely beautiful. The LP's are in a bright red color that matches
the red color on the cover artwork. A silver/bronze Art Deco locomotive
engine with the classic VH logo in the upper right hand corner.
(speaking of which, is extremely similar to The steam locomotive
featured on the cover artwork is a New York Central Railroad J-3A
Dreyfuss Hudson. Aside from a reversed angle of the locomotive, the
artwork appears very similar to the 1975 Commodores album Movin' On,
released by Motown Records.)
The records are as flawless sounding
as they are cool to look at. They are loud. They are clean. High's,
mid's & lows are all in wonderful vinyl harmony. If you are a fan of
Van Halen, especially the DLR era music this is definitely the album
you've waited well over a generation for. That's the truth. The whole
truth, & nothing but a different kind of truth. So help me God. Go
Spin it.

This review is a repost from 4/16/12. For additional artwork see the original post here:Click Here:

I
do not own this album on vinyl. Hail to the KING baby! KING ANIMAL is
the sixth studio album by American rock band Soundgarden, released on
November 12, 2012 on Seven Four Entertainment and Republic Records.
Produced by both the band and Adam Kasper, the album is the band's first
in sixteen years, and the first not to be released on A&M Records
since 1988's Ultramega OK.
Soundgarden reformed in 2010 after a
13-year hiatus. Following the success of the band's Telephantasm
compilation release that year, Soundgarden had been working on a new
album with an indefinite release date. The band went on an extended
world tour between the release of Telephantasm and the summer of 2012
before word came out that a new Soundgarden album would be ready for a
US fall release.
"Been Away Too Long" was the first single to be
released from KING ANIMAL on September 27, 2012. On October 31,
"Non-State Actor" was released through the official Soundgarden YouTube
channel. The video for the song features an American flag waving back
and forth with the King Animal logo replacing the stars. The week before
its release, the album was streamed in its entirety for free on iTunes.
KING
ANIMAL is a big, bright album, executed with precision and
professionalism. The bandmembers sound older, not quite as loud, and
possess a keener sense of good taste, and it sounds as if they've aged
together, which is a testament to their innate chemistry. Simply put,
Soundgarden sound like they belong together; Cornell sounds richer,
fuller when anchored by drummer Matt Cameron, (who is now pulling double
duty as fellow Seattle alumni bands Pearl Jams drummer as well) bassist
Ben Shepherd, and the deceptively sinewy and brainy guitarist Kim
Thayil, whose presence has sorely been missed over the past decade."
The Track Listing for KING ANIMAL is;
‘Been Away Too Long’
‘Non-State Actor’
‘By Crooked Steps’
‘A Thousand Days Before’
‘Blood On The Valley Floor’
‘Bones of Birds’
‘Taree’
‘Attrition’
‘Black Saturday’
‘Halfway There’
‘Worse Dreams’
‘Eyelid’s Mouth’
‘Rowing’
The
first track "Been Away Too Long" pretty much sums up my opinion of this
album & Soundgarden in general. Sure Chris Cornell has tried some
different things since Soundgarden last was together like, a James Bond
movie theme & Audioslave to name a few but Soundgarden is different.
I grew up with these guys. They have never been my all-time favorite
Seattle bands. That distinction goes to Pearl Jam but they are close to
the top.
This is a Soundgarden album through & through.
Sounds retro heavy & modern cool at the same time. Great album. It
won't disappoint.

This is a Journey into Sound.....
I
do not own this album on vinyl, i only have a digital copy. First off
I'm not a giant Jack White fanatic. Is he talented, yes. Does he make
good music, yes. Odd, strange, perhaps even a bit eccentric, I think so.
But this album has forced me to re-evaluate him.
Blunderbuss is
the debut solo album by Jack White, released on April 23, 2012 through
White's own label Third Man Records in association with XL Recordings
and Columbia Records. The album was released in mp3, compact disc, and
vinyl editions. The album was written, recorded and produced entirely by
White in 2011. The first single from the album, "Love Interruption",
was released on January 30 through White's website and Third Man Records
website. The album debuted at number one on the Billboard 200 with
first-week sales of 138,000 copies. The album received a nomination for
Album Of The Year and Best Rock Album at the 55th Grammy Awards and the
single "Freedom At 21" was nominated for Best Rock Song .
Blunderbuss
has its roots in White's recordings with several artists including Tom
Jones. White was in contact with Wu-Tang Clan member RZA and, when RZA
couldn't attend the session, White felt bad since there was a band that
travelled to Nashville for apparently no reason. White decided to record
several tracks that he wrote in the last 6 months of 2011, with the
band. The tracks would later develop into songs that appear on the
album. This album also marked the first time that Jack wrote all the
songs in one session, rather than writing the material separately. Jack
White has stated Blunderbuss is a record he could not release until now.
He went on to state, "I've put off making records under my own name for
a long time but these songs feel like they could only be presented
under my name. These songs were written from scratch, had nothing to do
with anyone or anything else but my own expression, my own colors on my
own canvas." To promote Blunderbuss, White performed "Love Interruption"
and "Sixteen Saltines" on the March 3, 2012 episode of Saturday Night
Live, with two different backing bands, one all-female and the other
all-male. The studio version of "Sixteen Saltines" was subsequently
released via White's YouTube channel on March 13. Promotional copies of
the album, distributed to reviewers and radio stations, were sent as
vinyl records to prevent leaks. The album leaked on April 15, nine days
ahead of its official release. On April 16, Third Man Records streamed
the album in its entirety on iTunes for free listening, 8 days before
its release.
The Japanese edition of the album features two extra tracks - "Machine Gun Silhouette" and a cover of U2's "Love Is Blindness".
Rolling Stone named it the number 3 album of 2012.
The track listing for BLUNDERBUSS is;
1. "Missing Pieces"
2. "Sixteen Saltines"
3. "Freedom at 21"
4. "Love Interruption"
5. "Blunderbuss"
6. "Hypocritical Kiss"
7. "Weep Themselves to Sleep"
8. "I'm Shakin'" 3:00
9. "Trash Tongue Talker"
10. "Hip (Eponymous) Poor Boy"
11. "I Guess I Should Go to Sleep"
12. "On and On and On"
13. "Take Me with You When You Go"
For my money, I love Sixteen Saltines. Best track on the album in my opinion.
This is an excellent alternative rock album. I do recommend this album to anyone who enjoys music in general.

First
off, I do not own this album on vinyl. I probably never will. Although
I dig the rock/blues/southern rock that ZZ Top is know primarily for,
this new album has elements of all that plus a lot of the synth work
they became accustomed to back in the 80's.
La Futura was
released on September 11, 2012. Four of the new tracks—“I Gotsta Get
Paid,” “Chartreuse,” “Consumption,” and “Over You”—debuted June 5, 2012
as an iTunes-only collection titled Texicali, which met with strong
sales and glowing reviews. Music Radar summed up the tunes as “ZZ Top
crankin’ up some fresh, vital roadhouse blues.” Another track, "Flyin'
High,” appropriately made its world premiere in space, when the
then-unfinished song played on board a Soyuz spacecraft during its
launch to the International Space Station in June 2011 at the request of
NASA astronaut Mike Fossum, a long-time ZZ Top fan and friend. This is
when I first became aware of the album.
its first in nine years,
following Mescalero. La Futura was recorded at The Foambox Recordings
in Houston, Texas. The album title and album art were released on ZZ
Top's home page on August 3 at 11:45 a.m. The album contains 10 tracks.
“We thought long and hard about what this album should be,” Gibbons says
in a press release. “We wanted to recall the directness of our early
stuff but not turn our backs on contemporary technology. The result of
this melting of the past and the present is, of course, La Futura.”
The track listing is;
1. 'I Gosta Get Paid'
2. ‘Chartreuse’
3. ‘Consumption’
4. ‘Over You’
5. ‘Heartache in Blue’
6. ‘I Don’t Wanna Lose, Lose, You’
7. ‘Flyin’ High’
8. ‘It’s Too Easy Manana’
9. ‘Big Shiny Nine’
10. ‘Have a Little Mercy’
There is of course a Best Buy version that contains two bonus tracks which are;
11."Threshold of a Breakdown"
12."Drive by Lover"
I
cannot tell a lie. This album is not ZZ Top's best work in my opinion.
It to me at times is rough. Seems over produced. By the way La Futura
was produced by the one and only Rick Rubin.
Make no mistake,
this is clearly a ZZ Top album, it's them in all their guitar rock
glory. I do recommend it. I do enjoy it. "The Future" is upon us, &
a classic band we all know & love has reminded all of us of that.